This is a “specialized” course if taken for the Psychology Major.
William M. Mace
Office: Life Sciences 209A
Office Hours: Tuesday – Thursday 11:30 am-1:00 pm
and especially by Appointment
Books — E. H. Gombrich, Art and Illusion
Lawrence Weschler, Seeing is Forgetting the Name of the Thing One Sees
Reading for this course is extremely important. The core reading E. H. Gombrich’s book, Art and Illusion, is interesting and provocative. It should make you think about a great deal that you have not thought about before. For the reading to work its magic, you have to cooperate by giving it substantial hunks of time. When you get a “reading” assignment, the goal is for you to have learned the material in the reading, not just to have passed your eyes over each page once or twice. To emphasize this,for the first several assignments, I did not say simply “read” but “read, learn and digest.” You ought to approach any reading assignment this way, but sometimes people do not, so I’ll say it more explicitly and more often.
There are 29 pages in the introductory chapter of Gombrich. This Introduction, called “Psychology and the Riddle of Style,” is divided into six sections with Roman Numeral headings. There are 61 paragraphs. Some of the paragraphs are short transitions to the others. Some are long and dense with information. For carefully presented and argued material like this, it is not unreasonable to guess that an average of 5 minutes per paragraph is minimal to get what you need to get. If we round the number of paragraphs to 60, then we’re talking 300 minutes already for the chapter. How long is that? How many minutes in an hour? Good. So how many hours? That’s not counting the pictures. The topics at hand concern what can be seen in pictures, so the pictures in the book are there to make a point. You need to look carefully at the pictures, see what you see, and understand what the point is meant to be. Do they succeed in making the point for you? There are only 4 pictures in this Introduction. What are they? Why are they there? Integrating those into your understanding takes some more time. Putting it all together, I’d say that 6 hours is a reasonable beginning for the amount of time to allocate to this introductory chapter.
QUESTIONS AS IMPORTANT AS ANSWERS
Sometimes students approach a course as a source of answers, thinking that the goal of a course is to teach students what experts know about a topic. The surprise for students is that what they often find is that much of a course is about what experts ASK about a topic. Much of any discipline involves learning how people package their questions in order to make progress. The questions you have when you are not an expert don’t necessarily lead to answers that look like they address the question you had.
Consider the Introduction. The title is “Psychology and the Riddle of Style.” A riddle is a kind of question, so we’re already orienting to questions. Because that’s the main topic, you ought to start reading, thinking to yourself “What is the riddle of style?” or even, “Can there be more than one riddle of style?” And, “what does Gombrich think the Riddle of Style is?” So you don’t just plunge in, but you plunge in knowing some of what you have to look for. In past classes, I have asked students, AFTER several class sessions, and AFTER doing the reading, what the Riddle of Style was to Gombrich. The reply of some was a list of styles. But I didn’t ask what some styles were or even what was meant by style. I asked, with Gombrich, what the “Riddle of Style” was. You cannot appreciate the riddle of style without good examples in mind, but those examples are not themselves what the question asks.
The first sentence says “The illustration in front of the reader should explain much more quickly than I could in words what is here meant by the “riddle of style.” See — Gombrich directly addressed the main point right from the beginning — but he also asked you to look at the first Figure. So you have to look at the Figure. Do you get the joke? Is it funny to you? If so, why? Gombrich’s second sentence says how important the cartoon is as an illustration of what he’ll get to, then he asks a question. Gombrich asks SIX questions in the first paragraph, and SEVEN in section I. You’ve got to stop and think about each question in order. (1)”Why is it that different ages and different nations have represented the visible world in such different ways?” Does that sink in as a real question? Can you think of some possible answers? At least to illustrate what the question is about?
What I’m try to do here is to alert you to the level of detail to be grasped and the tempo required to grasp it. If you do that, then you’ll participate well in class and write your papers at the correct level.
Grades will be based on written work (90%) and class participation (10%).
Class participation will be based on attendance, your willingness to talk in class, and performance on occasional exercises that I’ll call “homework.”
Your main written work for the semester will be a series of 4 modest papers and a more comprehensive final paper.
The assignments and dates due are these:
|Paper I||Sept. 18||15%|
|Paper II||Oct. 11||15%|
|Paper III||Nov. 13||15%|
|Paper IV||Dec. 4||15%|
|Final Paper||Dec. 17||30%|
Schedule of Classes
|DATE||READING FOR CLASS||TOPIC DESCRIPTION|
|Examples of Styles||Introduction to the course|
|Read, Learn and Digest: Gombrich — Introduction: Psychology and the Riddle of Style|| Introduction to the scope of visual arts. Experiences in art. Role of the observer. Who can see what and when?
Overview of issues, Gombrich style. Peruse some more Egyptian Art. Just Google “Egyptian Art.”
| Class 3
|Read, Learn and Digest: Gombrich — Chapter 1||Assignment 1 due a week from today, Sept. 18|
| Class 4
|Read, Learn and Digest: Gombrich — Chapter 2
Wolgemut p. 81v
Check this out from Science, Sept. 5, 1997
|pay attention to the word “schema” and the idea of “schema and correction”|
|Function and Form|
| Class 5 September 18
||Read, Learn and Digest: Gombrich — Chapter 3
Brueghel’s Dulle Griet
Part of Plato’s REPUBLIC (Book X) cited in Gombrich
J. S. G. Boggs
| Assignment 1 due by 10 tonight
“Making comes before matching”
|Class 6 September 20||Read, Learn and Digest: Gombrich — Chapter 4||The role of considering the function (purpose) of art in interpreting why it looks the way it does. From Egypt to early Greece to classic Greece — an then jumping to medieval Europe. Progress?|
|Class 7 September 25||Read, Learn and Digest: Gombrich — Chapter 5
Mondrian works. Look especially at the development of his “trees.”
See beginning of Morris art lesson video
|The Robert Morris video is linked to your Moodle page. At the bottom of the left hand column, after all the dates, is a line labeled Kaltura Media Gallery. Click on that. One video should show up to click on.|
|The Beholder’s Share|
|Class 8 September 27||Begin Gombrich — Chapter 6
Video (Robert Morris)
|Class 9 October 2||Read: Gombrich — Chapter 7|
|Class 10 October 4||Famous Steinberg||Assignment 2 due a week from today, Oct. 11|
|Class 11 October 11||Read: Gombrich — Chapter 8
Bonus — see New Yorker article about Berenson on Moodle site
|Class 12 October 16||Continue: Gombrich — Chapter 8
Gibson ReadingsGombrich’s review of a biography of Gibson by Edward S. Reed, who was a 1975 graduate of Trinity.
See more about Reed here
Evansville Perspective lessons
How the horizon works
Big perspective website. Includes previous photo.
|Class 13 October 18||How the horizon works
Big perspective website. Good for review
Vermeer — perspectivePerspective PowerPoint
|Invention and Discovery|
|Class 14 October 23||Read: Gombrich — Chapter 9
Gibson film 61 MB
|Class 15 October 25||Notes to remind you about last class|
|PowerPoint from class with 2 occlusion demonstrations over a painting — now on Moodle
Artist with computer routine for caricature — On Moodle site
|Class 17 November 1|| Read: Gombrich — Chapters 10 & 11
Shaw face project based on orthodontic theory of Harvey Jenkins and biology of D’Arcy Thompson — see Moodle for paper led by Len Mark, and another led by John Pittenger. The original Harvey Jenkins source is there as well. This work is all about the Gibson style approach of pairing change and non-change; invariants and variants.
|Robert Irwin and James Turrell|
|Completing story of the growth transformation of Shaw
Presentations about artists in the article above
Read: Weschler Chapters 1 – 5
|Assignment 3 due a week from today, Nov. 13|
| Class 19
|Read: Weschler — Chapters 6 – 9
Irwin Video in class
| Class 20
|Read: Weschler — Chapters 10-13
Pacific Standard Time Website
|Nathan Knobler theme of art making in terms of decisions to be made.
Irwin, Turrell and Science (LA County)
Irwin lines — Beholder’s share? Who is the audience? How many can there be? Look at Irwin’s history as an observer — Ibiza, Paris, lines, dots, etc.
| Class 21
Robert Irwin reception for Pace show July, 2012
Irwin in Marfa, TX (Irwin’s part is at about 14 minutes in)
| Class 22
|Read: Turrell Net Readings:
First lightTimes article on Roden Crater 2007
NY Times article also linked on the Turrell website shown next on this list
| Class 23
|Read and Watch:PBS Art21 Intro to Turrell 13+ minutes
Read: Turrell Net Readings
Assignment 4 — Due December 5 See Moodle
|Assignment 4 due a week from today, Dec. 4|
| Class 24
|Rich sample in recent YouTube|
| Class 25
|High School Video
Making the Copacobana shot in Goodfellas by Martin Scorsese
| Class 26
| Dolly sample
Sol LeWitt at Trinity
Sol LeWitt: Wall Drawings — in Films on Demand. A digital archive in the Trinity Library electronic catalogue. Can be found under “Art & Architecture,” “Sculpture, Installations, and Crafts” or also under “Applied Art.”
Carl Andre at Dia: Beacon
Bordwell, Gombrich, and. . . What?
The Society for Cognitive Studies of the Moving Image
Shepard tone with Penrose staircase
Final Paper Due Monday December 17